THE ROAR Releases Official Music Video for Cover of BRYAN ADAMS Rock Classic “Heaven”

The Roar - Band Pic hi res

Corona, CA based Rock Band has released the official music video for their cover of the 1985 BRYAN ADAMS hit single, “Heaven.” Off of their new LP, Ninja Kitties, “Heaven” was filmed at Musicians Performance Studios, Inc..

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“I became interested in covering ‘Heaven’ by Adams in the 90s when I noticed that many melodic punk bands covered his song ‘Summer of 69’. I wanted to do a different song, and I always thought Heaven would sound better in a faster tempo with heavier guitars. The song is nostalgic for 80s love songs. It reminds us of the innocence of love and hope. Maybe a trip into the past is what we need…, albeit reimagined.” – THE ROAR

Ninja Kitties LP cover 1 jpg - Copy

Track List:
1. Ninja Kitties
2. Someone to Listen
3. Super Girl
4. The Driver
5. Claddagh Ring
6. Heaven
7. Decay
8. Crossfire
9. Till The End

Download / Stream Ninja Kitties Online:

SPOTIFY | AMAZON

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The Roar is a power rock act and the culmination of a decades worth of work in roots music ranging over Blues, Jazz, Rock n’ Roll, and Soul. The band creates a unique sound by combing blues and other roots techniques with hard rock and melodic punk.

FACEBOOK | REVERBNATION

 

Heaven Premiere ‘New Amsterdam’ Video On NOISEY

Watch The ‘New Amsterdam’ Video On NOISEY!

Buy “Telepathic Love” Here!

A romantic clash between your Dad’s long lost favorite psych record and the soundtrack to a John Hughes film, Heaven ride a massive sonic wave in delivering their dear and dreamy tracks. Matt Sumrow and Mikey Jones created Heaven in the wake of touring and recording with artists such as DEAN and BRITTA, SWERVEDRIVER, AMBULANCE LTD, the COMAS, SNOWDEN, THE BIG SLEEP and others.  After supporting and touring with other artists for years, they have finally arrived at making their own albums in their own band, Heaven.

In July of 2013, Heaven released their debut LP Telepathic Love on Goodnight Records. The live lineup came together on the touring of Telepathic Love with the addition of bassist Yoi Fujita (SNOWDEN) and keyboardist/guitarist Eric Altesleben (formerly of INTERPOL), who have since become permanent members.

During an adventurous summer/fall of 2013 (where drummer Jones was involved in a car accident, suffered temporary but severe memory loss, and literally went missing for three months- only to be found working the marijuana fields of Northern California) the band made tour stops at SXSW, two east coast tours, many in studio/in store performances, as well as numerous online and print reviews.

The band is currently braving the New York winter recording their sophomore LP.

 

Tour Dates:

Feb 6th   –  Philadelphia, PA – Underground Arts at 8pm #
Feb 6th   –  Philadelphia, PA   – Kung Fu Necktie at 11pm ^
Feb 7th   –  New York, NY     –  Mercury Lounge   %
Feb 10th  –  Chapel Hill, NC   –  Cats Cradle Back Room   #
Feb 11th  –  Athens, GA    –    Georgia Theater   #
Feb 12th – Cincinatti, OH – Southgate House
Feb 13th  –  Ferdale, MI (Detroit) – New Way Bar
Feb 21st – Washington, DC – Comet Ping Pong

# w/ Caveman
^ w/ Ruby The Hatchet
% w/ +/- (Plus/Minus)

 

Xray Eyeballs Announces Tour With Cat Power

Tour With Cat Power

10/22/2012 930 CLUB – Washington, DC
10/23/2012 Hammerstein Ballroom – New York NY
10/24/2012 House of Blues – Boston MA
10/27/2012 Royal Oak Music Hall – Detroit MI
10/28/2012 Riviera Theatre – Chicago IL

Xray Eyeballs began as the brainchild of guitarist O.J. San Felipe and bassist Carly Rabalais, who, after founding Brooklyn garage rock juggernaut Golden Triangle (Hardly Art), sought a release that would sate both their sweet-toothed desires and their darker impulses, like a candy-coated Vicodin. Like their musical antecedents, The Jesus and Mary Chain and The Velvet Underground, Xray Eyeballs creates a world of their own. Low-lifes, night-walkers, pill-riders, and other sordid characters stalk the band’s New York City streets and their songs compel you to follow them until you find the peace of a night redeemed in the morning light.

On Splendor Squalor, Xray Eyeballs’ second full-length on Kanine, refracted rays of that redemptive light shine through the band’s eerie musical haze. The addition of Sarah Baldwin (The Girls at Dawn, Fergus & Geronimo) on drums and Liz Lohse (Heaven, Runaway Suns) on guitar and synths expands the band’s sonic possibilities with lush vocal harmonies, unique musical counterpoints and inspired songwriting contributions. Xray Eyeballs’ new lineup deftly maneuvers from unctuous drones to punk rave-ups and new-wave bangers with a confidence and melodic sensibility that illuminates the splendor in the squalor.

The needle drops on “Four” and you find yourself enthused with the will to cross the dance floor and talk to that crush your friends warned you about. “I’m feeling alright,” San Felipe sings. You believe him and feel alright, too. The bass throbs with Factory-style control as “X” sends you oscillating wildly in a lovers’ power struggle: “I control you/ You control me.” It’s 6 AM and you’re sitting on a couch between two guys who either wish they were Lou Reed and Alan Vega or actually are Lou Reed and Alan Vega. You shouldn’t have taken that last anything of anything. “Syrup,” featuring Christiana Key (Cult of Youth, Zola Jesus) on violin, wafts into the room and suddenly that time between last call and pancakes make sense.

Xray Eyeballs fully realizes their vision of Splendor Squalor live: skater kids donning the band’s signature “Ghost Girl” t-shirt bounce off the walls; the oldest punks in the world reluctantly acknowledge the validity of something new; hands typically stuffed in the pockets of skin-tight jeans wave in the air like they just don’t care; record nerds dance as if nobody’s blogging; goths smile. The band’s undeniable energy brings the shadows in the darkness to life. These creatures bear witness to San Felipe’s blatant disregard for his physical well-being as the enraptured frontman, refusing to acknowledge the limitations of both stage and gravity, bounds recklessly around the crowd and dangles perilously from the ceiling, a provocation for the audience to match the band’s enthusiasm.